Page 48

PRO3D

Where’s the Live Green Screen Keyer in After Effects? The next choice would be Adobe’s excellent CS5 Suite. However, both Adobe Premiere as well as After Effects do not have any facility to get in a live camera feed either! All is not lost though. Here’s a solution that we came across:

1) It’s best to work with a desktop for ease of use in this scenario as there are a few options for HDSDI or HDMI dual grabber cards available for getting the two camera feed into the computer. BlackMagic Intensity and AJA Kona are available 2) In keeping with my preference for shrinking the technology, I still prefer to use a high end laptop with the Black Magic Design Intensity Shuttle over USB 3.0 as a video grabber. 3) The all important ingredient to the mix:

Realtime Stereoscopic 3D Green screen Keying Methodology in AfterEffects:

the live 3D camera feed (muxed side by side if using an external mux unit)

1) Download the trial (or buy) the

6) Create a second solid layer and

Lensfeed plug-in for AfterEffects

drop another instance of the Lensfeed plug-in on it. (there are five instances of this plugin meant for capture cards that have more than one input).

2) Connect up the Intensity Shuttle grabber to a suitably qualified laptop (we are not grabbing actual video, merely previewing the signal, so it may work with Express Card to USB 3.0 cards). But this needs to be tried (if seeking a laptop-based solution) before buying.

the Lensfeed plug-in for After effects.

7) If using step 6 above, then arrange the two live camera feeds as in step 4.

8) Drop an instance of the Keylight effect on the solid(s) layers and key the green out.

3) Set up an AfterEffects composition 4) Rent a 3D multiplexing unit such as Inition’s StereoBrain that will take two HDSDI inputs and mux them side by side to give a single HDMI 3D output. 5) Choice of laptop: I’ve heard that the Blackmagic Intensity Shuttle works with the HP Envy 15 laptop very well. The new Sony F series 3D enabled VAIO also has USB 3.0 and a slew of other must haves, such as Nvidia CUDA enabled GPU that will allow Adobe CS5’s amazing Mercury Engine to take advantage of GPU acceleration etc.

that is 1920 x 1080 wide.

4) Create two AfterEffects layers and drop in the stereoscopic background “assets”. Squeeze them side by side in the composition window to fit (960×1080 each). In the example I was working on, it was to be a CG rendered “catwalk” for a 3D fashion show. The models were being filmed live on green screen and would be keyed over the CG stereo3D catwalk.

5) Create a solid layer and drop the Lensfeed plug-in on it. This should show

44 | www.broadcastprome.com | July 2011

This allows the DoP to adjust lighting for the green screen stage, and gives the director (and talent) and the “video village” or the client, a live preview of the final composite. Of course we would be “eye-balling” everything at this point, but it would aid in taking measurements, for later integration with CG cameras, or compositing cameras. It helps to have been doing live Stereoscopic 3D for over a decade. Stereoscopic 3D events encouraged out-of-the-box thinking. Mixing live

BroadcastPro Middle East - June 2011 Issue  

Broadcast Pro Middle East is a monthly publication covering television and radio broadcasting technology as well as filmmaking trends in the...

BroadcastPro Middle East - June 2011 Issue  

Broadcast Pro Middle East is a monthly publication covering television and radio broadcasting technology as well as filmmaking trends in the...

Advertisement